Robert Rossen

Robert Rosen{{sfn|Robert Rossen – Biography|NY Times}} was born on March 16, 1908,{{Citation needed |date=July 2023}} and raised on the Lower East Side of New York City.{{sfn|Thomas|1966|p=11}} His parents were Russian Jewish immigrants and his father, Philip Rosen, was a house painter.Carol Eve Rossen, "Mother Goose Drank Scotch - Robert Rossen, An American Journey, page 30 As a youth, he attended New York University,{{Citation needed |date=July 2023}} hustled pool and fought some prizefights{{sfn|Neve|2005|p=54}} - the latter two providing crucial background for his two greatest films, The Hustler and Body and Soul, respectively. He changed his name from "Rosen" to "Rossen" in 1931.Carol Eve Rossen, p.100

He started his theatrical career as a stage manager and director in stock and off-Broadway productions,{{sfn|Robert Rossen – Biography|NY Times}} mainly in the social and radical theaters that flourished in New York in the early and mid-1930s, as did John Huston, Elia Kazan and Joseph Losey.{{sfn|Mayer|2007|p=64}} In 1932 Rossen directed John Wexley's Steel, about labor agitation, and Richard Maibaum's The Tree, about a lynching. A year later Rossen directed Birthright, in which Maibaum attacked Nazism,{{sfn|Neve|1992|pp=170–171}} which had just triumphed in Germany with the dictatorship of Adolf Hitler in 1933.

In 1935, Rossen wrote and directed his first play, The Body Beautiful, a comedy about a naive burlesque dancer. Although the play closed after four performances,{{sfn|Neve|1992|pp=170–171}} Warner Bros. director Mervyn LeRoy was so impressed that he signed Rossen to a personal screenwriting contract.{{sfn|Neve|2005|p=54}}{{sfn|Neve|1992|pp=170–171}}

In 1936, Rossen married Susan Siegal; the couple had three children: Carol, Stephen and Ellen.{{sfn|Neve|2005|p=54}}{{sfn|Carol Rossen – IMDb}}{{sfn|Death: Stephen Rossen|2007|}}

For his first credit in Hollywood, in 1937 Rossen co-wrote with Abem Finkel a script based on the prosecution of crime lord Lucky Luciano and eventually titled Marked Woman. Although some of Warner Bros. management saw Rossen as an unknown quantity, the result won praise from both Jack L. Warner and the Daily Worker.{{sfn|Neve|2005|p=54}} Rossen's first solo script was for They Won't Forget (1937), a fictionalized account of the lynching of Leo Frank, featuring Lana Turner in her debut performance.{{sfn|UPI obituary|1966}}

Dust Be My Destiny, co-written in 1939 by Rossen, is the story of a fugitive from justice who is eventually acquitted with help from an attorney and a journalist, the latter arguing that "a million boys all over the country" were in a similar plight. Warner Bros. then ordered producer Lou Edelman to cut the script, adding that "This is the story of two people – not a group. It is an individual problem – not a national one."{{sfn|Neve|2005|p=55}} Rossen was one of three writers on the gangster melodrama The Roaring Twenties, released in 1939.{{sfn|Nugent – Roaring Twenties|1939}}{{sfn|Neve|2005|p=56}} A remake of the 1932 play and film Life Begins was written in 1939 by Rossen and released in 1940 as A Child Is Born. The plot recounted the experiences of six expectant mothers, and there was little scope to modify the original.{{sfn|Nugent – A Child|1940|}}

The Sea Wolf, released in 1941, was based on Jack London's novel. Although the film had a strong cast and production, Rossen's re-draft of the script may be the greatest influence on the film.{{sfn|Sea Wolf – Williams|1998|pp=xix–xxi}} While the character of Captain Larsen remained both victim and oppressed in a capitalist hierarchy, he became a symbol of fascism. He split the novel's idealist hero into an intellectual bosun and a rebellious seaman.{{sfn|Sea Wolf – Williams|1998|pp=xxii–xxiii}} Warner Bros. cut many political points during production.{{sfn|Sea Wolf – Williams|1998|pp=xxiii–xxiv}}

Blues in the Night, written by Rossen and two colleagues and released in 1941, shows a group of jazz musicians traveling in the Depression. Their informal methods represent working-class culture rather than the commercialized music of the big bands.{{sfn|Neve|2005|p=57}} However, The New York Times' reviewer thought the soundtrack was "about all the film has to offer",{{sfn|T.M.P – Blues in the Night|1941}} and Warner was disappointed with the sales.{{sfn|Neve|2005|p=57}}

After the attack on Pearl Harbor on December 7, 1941, the Screen Writers Guild set up on December 8, 1941, the Hollywood Writers Mobilization, a body to organize writers for the war effort. Rossen served as the body's chairman until 1944 and advocated the opening of a Second Front to support West European resistance against the Nazis. His earnings were much greater than in 1937. However, his work for Hollywood Writers Mobilization and for the Communist Party forced him to abandon some partly developed film projects, including The Treasure of the Sierra Madre, which John Huston eventually directed in 1948.{{sfn|Neve|2005|p=57}}

In 1945 Rossen joined a picket line against Warner Bros, making an enemy of Jack Warner. Rossen signed a contract with an independent production company formed by Hal Wallis, who had previously been Warner Bros.' head of production. However Rossen wrote only two full scripts for this company, The Strange Love of Martha Ivers in 1946 and Desert Fury in 1947.{{sfn|Neve|2005|p=58}}{{sfn|Neve|2005|p=60}} In The Strange Love of Martha Ivers Rossen used a short story by John Patrick to introduce the main plot, which was set 15 years later and which Rossen wrote.{{sfn|Neve|2005|p=58}} The relationship between Rossen and Wallis broke down when Rossen received offers from other production companies.{{sfn|Neve|2005|p=58}}

Dick Powell had been a crooner but was making a new career as a dramatic actor. When Columbia Pictures agreed to make Johnny O'Clock for him in 1947, Powell successfully campaigned for Rossen to direct, and this became Rossen's debut in directing.{{sfn|Neve|2005|p=60}} As this crime melodrama proved a modest success, Roberts Productions signed Rossen to direct Abraham Polonsky's script of Body and Soul,{{sfn|Neve|2005|p=62}} described by Bob Thomas as "possibly the best prizefight film ever made."{{sfn|Thomas|1966|p=11}} Rossen preferred an ending in which the hero wins a boxing match and then is killed by a gangster, but Polonsky insisted on his own ending, in which the hero escapes into obscurity before the fight.{{sfn|Neve|2005|p=62}} Following the success of Body and Soul, Rossen formed his own production company and signed with Columbia Pictures a contract that gave him wide autonomy over every second film that he made at the studio.{{sfn|Neve|2005|p=62}}

All the King's Men (1949) was based on the novel of the same name by Robert Penn Warren, which in turn was based on the career of politician Huey Long.{{sfn|Kings Men – Berardinelli|}} Rossen introduced a new concept, that the defenders of the ordinary people can in turn become the new exploiters.{{sfn|Neve|2005|pp=63–64}} As a requirement for his participation in the film, Rossen had to write to Columbia's Harry Cohn saying that he was no longer a Communist Party member.{{sfn|Neve|2005|p=62}}{{sfn|Casty|1966|p=6}} Cohn's critiques of the draft of Rossen's script included scrapping a framing structure that was difficult for audiences to follow and several improvements in the relationships and motivations of characters.{{sfn|Dick|1993|pp=168–174}} A meeting of the Communist Party in Los Angeles severely criticized the film, and Rossen severed all relations with the Party.{{sfn|Neve|2005|p=63}} All the King's Men won the Academy Award for Best Picture, Broderick Crawford won the award for Best Actor and Mercedes McCambridge was honored as Best Supporting Actress. Rossen was nominated for the Academy Award for Best Director but lost to Joseph L. Mankiewicz for A Letter to Three Wives.{{sfn|Filmsite 1949 Oscars|}} Rossen won the Golden Globe for Best Director and the film won the Golden Globe for Best Picture.{{sfn|Awards – HFPA|}} His next film, The Brave Bulls, was directed in 1950 and released in 1951. This was Rossen's last work before the studios blacklisted him. New York Times critic Bosley Crowther called this "the best film on bull-fighting yet."{{sfn|Brave Bulls – Crowther|1951|}}

{{Further|House Un-American Activities Committee}}

After the end of World War II in 1945, the spread of Coummunism became the major concern in the United States.{{sfn|Mayer|2007|p=62}} In 1946, the Republicans gained an overwhelming majority in the Congressional elections.{{sfn|Neve|2005|p=58}} and used this power to investigate Communist elements in the media. The Communist victory of China in 1949 and the start of the Korean War in 1950 reinforced the anti-communist concerns present at the time.

During hearings in 1947, Jack Warner included Rossen among the many openly leftist writers whom his studio Warner Bros. had hired as the earliest and most openly anti-Nazi studio in Hollywood. (Warner Bros. had made Confessions of a Nazi Spy [1939] and was criticized by the Republicans for their leftist writers at the time.) Warner reportedly accused Rossen of incorporating communist propaganda in scripts and fired him as a result, though some believe he was also unhappy with the writers’ union activities.[http://www.moma.org/explore/inside_out/2014/03/18/robert-rossens-the-hustler Moma.org]

Rossen was one of 19 "unfriendly witnesses" subpoenaed in October 1947 by the House Un-American Activities Committee (HUAC) during the second Red Scare but was one of eight not called to testify.{{sfn|Neve|2005|p=58}} In 1951, Rossen was named as a Communist by several HUAC witnesses and he appeared before HUAC for the first time in June 1951.{{sfn|Neve|1992|pp=170–171}} He exercised his rights under the Fifth Amendment against self-incrimination, taking what came to be known as the "augmented Fifth". He testified that he was not a member of the Communist Party and that he disagreed with the aims of the party, but when asked to state whether he had ever been a member of the party, Rossen refused to answer.{{sfn|Blacklisting I – Cogley|p=104}}{{sfn|Neve|1992|pp=170–171}} He was placed on the unofficial blacklist by the Hollywood studios,{{sfn|UPI obituary|1966}} and Columbia broke its production contract with him.{{sfn|Casty|1966|p=7}}

In a widespread practice during HUAC investigations, the U.S. State Department refused to renew Rossen's passport. This, and his inability to find work, brought Rossen, like his friend, ex-Communist Elia Kazan, back to the committee in May 1953, where he identified 57 people as Communists.{{sfn|Neve|2005|p=64}} He explained to the committee why he chose to testify: "I don't think, after two years of thinking, that any one individual can indulge himself in the luxury of personal morality or pit it against what I feel today very strongly is the security and safety of this nation."{{sfn|Treason – Bentley|p=576}} Stephen Rossen later shed light on his father's decision:

It killed him not to work. He was torn between his desire to work and his desire not to talk, and he didn't know what to do. What I think he wanted to know was, what would I think of him if he talked? He didn't say it in that way, though. Then he explained to me the politics of it—how the studios were in on it, and there was never any chance of his working. He was under pressure, he was sick, his diabetes was bad, and he was drinking. By this time I understood that he had refused to talk before and had done his time, from my point of view. What could any kid say at that point? You say, 'I love you and I'm behind you.' {{sfn|LoBianco – TCM|}}

Like Elia Kazan's testimony, Rossen's HUAC admissions destroyed many lifelong friendships, along with impacting the careers of many of Rossen's colleagues. Kazan's career flourished and Rossen's career also quickly regained the productivity he had enjoyed prior to the blacklist. He produced, directed and co-wrote The Hustler, in 1961, and he was nominated for Best Picture, Best Director, and Best Writing, Screenplay Based on Material from Another Medium Academy Awards, sharing the nomination with his co-writer Sidney Carroll.

From 1952 to 1953, Rossen wrote Mambo, trying to repair his finances after almost two years without work following the 1951 HUAC hearing. He had to produce the film in Italy, and it was premiered in Italy in 1954 and the USA in 1955.{{sfn|Mambo – TCM|}}{{sfn|Mambo – allmovie|}} Rossen later said "Mambo was to be for fun only," but he "took it seriously, and it didn't come off."{{sfn|Fischer-Hornung|2001|p=94}} Critics dismissed the film.{{sfn|Fischer-Hornung|2001|p=95}}{{sfn|Crowther|1955}}{{sfn|Casty|1966}} However, in 2001, Dorothea Fischer-Hornung concluded that the film achieved more than Rossen and contemporary critics realized. The female lead resolves her own conflicts by devoting herself to dance. Katherine Dunham's choreography highlights this process;{{sfn|Fischer-Hornung|2001|p=102}} and innovative cinematography intensifies the dance scenes.{{sfn|Fischer-Hornung|2001|pp=98–99}}

Rossen hoped Alexander the Great (1956) would be a blockbuster,{{sfn|Casty|1966|p=7}} but the majority of the reviews criticized the film for failing to keep the audience's interest.{{sfn|Tatara|}} However, the review from The New York Times wrote that "its moments of boredom are rare...an overlong but thoughtful and spectacular entertainment."{{sfn|Alexander – Weiler|1956|}}

File:Robert Rossen Gravesite 2007.JPGIn 1961, Rossen co-wrote, produced and directed The Hustler. Drawing upon his own experiences as a pool hustler, he teamed with Sidney Carroll to adapt the novel of the same name for the screen. The Hustler was nominated for nine Academy Awards and won two. Rossen was nominated as Best Director, and with Carroll for Best Adapted Screenplay, but did not win either award.{{sfn|Hustler Awards – allmovie|}} He was named Best Director by the New York Film Critics Circle{{sfn|NYFCC 1961 Awards|}} and shared with Carroll the Writers Guild of America Award for Best Written Drama.{{cite web|title=WGA Awards| publisher=Writers Guild of America| url=http://www.wga.org/awards/awardssub.aspx?id=1551| access-date=2008-03-31| url-status=dead| archive-url=https://web.archive.org/web/20101130155425/http://wga.org/awards/awardssub.aspx?id=1551| archive-date=2010-11-30}} The Hustler was an enormous popular success and is credited with sparking a resurgence in the popularity of pool in the United States, which had been on the decline for decades.{{sfn|Pool – Dyer|2003|p=119}}

Rossen was already ill when he started on his final film, Lilith (1964), and it was poorly received in the United States.{{sfn|Neve|1992|p=214}} After it Rossen lost interest in directing, reportedly because of conflicts with the film's star, Warren Beatty. The filmmaker said, "It isn't worth that kind of grief. I won't take it any more. I have nothing to say on the screen right now. Even if I never make another picture, I've got The Hustler on my record. I'm content to let that one stand for me."{{sfn|Thomas|1966|p=11|}} However, at the time of his death Rossen was planning Cocoa Beach, a script he conceived in 1962, showing the hopes and struggles of transients in a local community and contrasting this with nearby Cape Canaveral, which Leftist writer Brian Neve described as a "symbol of America's imperial reach".{{sfn|Neve|2005|p=64}}{{sfn|Neve|1992|p=215}}

Rossen died in New York City at age 57 on February 18, 1966, following a series of illnesses{{sfn|Thomas|1966|p=11|}} and is interred at Westchester Hills Cemetery in Hastings-on-Hudson, New York.{{sfn|UPI obituary|1966}} His grandchild, Daniel Rossen, is the guitarist/vocalist of alternative bands Grizzly Bear and Department of Eagles.{{Citation needed |date=June 2021}}

Rossen was one of the directors who developed film gris (French for "grey film"). In his films for Warner Brothers between 1937 and 1944, consistent themes were the conditions of working people, the portrayal of gangsters and racketeers, and opposition to fascism.{{sfn|Neve|2005|p=54}} After Dust Be My Destiny, written by Rossen and released in 1939, Frank Nugent, who regularly reviewed for The New York Times, complained about Warner Brothers' long line of melodramas about boys from poor neighborhoods.{{sfn|Nugent – Dust|1939}} Unlike filmmakers such as John Ford and Howard Hawks, Rossen was willing to explain his aims as a director: "The element common to many of my films is the desire for success, ambition, which is an important element in American life. It is an important element, and has become increasingly more important in what is known as Western Civilization."{{sfn|Tatara|}} Polonsky commented that "Rossen's talent is force applied everywhere without let-up."{{sfn|Millar|1972|p=310}}{{sfn|Neve|1992|p=214}} Neve acknowledged that social concerns were central in most of Rossen's works, but commented that Lilith was different from Rossen's earlier films as it emphasized mood rather than narrative and examined through pictures and silences the nature of maladjustment and madness.{{sfn|Neve|1992|pp=214–215}}

Farber noted the strong female characters of the 1930s and 1940s, and laments the replacement of them by all-male relationships from the 1950s onward. For the earlier pattern Farber cited Rossen's 1946 script The Strange Love of Martha Ivers, which was over melodramatic but portrayed a woman consumed by power, money and success.{{sfn|Farber|1974|p=573}} Lilith created one of the few strong women in the 1960s.{{sfn|Farber|1974|p=574}} Rossen generally destroyed the main character.{{sfn|Millar|1972|p=310}}

All of Rossen's playscripts were adaptations except Marked Woman, Racket Buster and Alexander the Great, based on real events.{{sfn|Millar|1972|p=309}} Before he was blacklisted in 1951, only two of Rossen's adaptions were of serious novels, and Rossen's early drafts of the script for All the King's Men received serious criticisms within Columbia.{{sfn|Dick|1993|p=172}}

While head of production at Warner, Hal Wallis considered that some of his best films – including The Roaring Twenties, Marked Woman and The Sea Wolf – were written by Rossen.{{sfn|Dick|2004|p=124-125}} Wallis was very pleased with Rossen's script in 1946 for The Strange Love of Martha Ivers,{{sfn|Dick|2004|p=122}} which was produced by Wallis own company.{{sfn|Martha Ivers – TCM|}} However, Rossen turned down Wallis's next two films.{{sfn|Dick|2004|p=123}} Both Wallis as producer and Rossen as writer-director wanted to operate as independents, rather than under the control of a studio.{{sfn|Dick|2004|p=124}}

All the King's Men was one of the later social "message" films as America turned conservative. Thomas Schatz regarded All the King's Men as possibly the best of the genre, as it examined alcoholism, adultery, political corruption and the influence of journalism.{{sfn|Schatz|1999|p=5}} In 2001 the United States National Film Registry preserved the film as "culturally, historically, or aesthetically significant."{{sfn|National Film Registry – All the Kings Men|2001}}

Rossen produced, directed and co-wrote The Hustler in 1961. At the time, Variety praised the cast, complained about the "sordid aspects" of the story and felt the film was far too long.{{sfn|Hustler – Variety| 1961}} The New Republic praised the cast and Rossen's "sure, economical" direction, but thought the script "strains hard to give an air of menace and criminality."{{sfn|Kauffmann|1961|p=28}} The film won two Academy Awards and was nominated for another seven,{{sfn|Hustler Awards – allmovie|}} was nominated in four of the Golden Globes' categories,{{sfn|GoldenGlobes – The Hustler|}} and gained many other awards and nominations.{{sfn|Hustler Awards – allmovie|}}

In 1997. the National Film Registry preserved The Hustler as "culturally, historically, or aesthetically significant."{{sfn|National Film Registry – Hustler|1997}} In 2002, Roger Ebert described the film as one "where scenes have such psychic weight that they grow in our memories" and praised Rossen's decision to develop all four main characters,{{sfn|Hustler – Ebert|2002|}} and James Berardinelli listed the film in his All Time Top 100 for similar reasons.{{sfn|Hustler Review – Berardinelli|2002|}} Ebert also praised Rossen's decision to shoot the film in the "stygian gloom of the billiard parlor" created by black-and-white.{{sfn|Hustler – Ebert|2002|}} Other accolades appeared in the 2000s (decade).{{sfn|Writers Guild of America West 100|}}{{sfn|AFI: Top 10 Sports Films|2008}}

Nina Leibman regarded Lilith as the most extreme of the American film industry's applications, or rather misapplications, of psychoanalytic concepts, as the patient is already psychotic and has a track record of previous conquests.{{sfn|Leibman|1987|p=32}} In The New Biographical Dictionary of Film, David Thomson describes Lilith as "an oddity, the only one of [Rossen's] films that seems passionate, mysterious and truly personal. The other films will look increasingly dated and self-contained, but Lilith may grow."{{sfn|

Biographical Dictionary – Thomson|2002|p=760|}}

The Academy Film Archive preserved several of Robert Rossen's films, including The Hustler, All the King's Men, and Lilith.{{cite web|title=Preserved Projects|url=http://www.oscars.org/academy-film-archive/preserved-projects?title=&filmmaker=Robert+Rossen&category=All&collection=All|website=Academy Film Archive}}

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{{Reflist|30em}}

• Bentley, Eric, ed. (1971). Thirty Years of Treason: Excerpts from Hearings before the House Committee on Un-American Activities, 1938–1968. New York, The Viking Press; {{ISBN|978-0-670-70165-0}}.
• Cogley, John (1956). Report on Blacklisting I · Movies. New York, Arno Press & The New York Times; {{ISBN|0-405-03915-8}} (1972 edition).
• Dyer, R.A. (2003). Hustler Days: Minnesota Fats, Wimpy Lassiter, Jersey Red, and America's Great Age of Pool. New York, Muf Books; {{ISBN|1-56731-807-X}}.

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| title=Thirty Years of Treason: Excerpts from Hearings before the House Committee on Un-American Activities, 1938–1968

| url=https://archive.org/details/thirtyyearsoftre00unit

| year=1971 | publisher=The Viking Press | location=New York

| isbn=9780670701650

| ref={{SfnRef|Treason – Bentley|}} }}

• {{cite book | last=Cogley | first=John | title=Report on Blacklisting I · Movies| year=1956

|publisher=Arno Press & The New York Times | isbn=0-405-03915-8

| ref={{SfnRef|Blacklisting I – Cogley|}} }}

• {{cite web | url=https://www.tcm.com/tcmdb/title/72818/desert-fury | title=Desert Fury (1947) | work=Turner Classic Movies | publisher=Turner Sports and Entertainment Digital Network | access-date=December 2, 2010 | ref={{SfnRef|Desert Fury – TCM|}} }}

• {{cite web | url=https://www.tcm.com/tcmdb/title/85965/out-of-the-fog | title=The Fog(1) | work=Turner Classic Movies | publisher=Turner Sports and Entertainment Digital Network | access-date=January 14, 2011 | ref={{SfnRef|The Fog – TCM|}} }}

• {{cite book | last=Dyer | first=R.A. | year=2003| publisher=Muf Books | location=New York | isbn=1-56731-807-X

| title=Hustler Days: Minnesota Fats, Wimpy Lassiter, Jersey Red, and America's Great Age of Pool

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• {{cite web | title = Awards search – Robert Rossen | publisher = Hollywood Foreign Press Association | url = http://www.goldenglobes.org/browse/member/30073 | access-date = July 20, 2010 | ref = {{SfnRef|Awards – HFPA|}} | archive-url = https://web.archive.org/web/20091215212520/http://www.goldenglobes.org/browse/member/30073 | archive-date = 2009-12-15 | url-status = dead }}
• {{cite web | url=http://www.filmsite.org/aa49.html | title=1949 Academy Awards | work=AMC filmsite | publisher=American Movie Classics Company LLC | access-date=November 30, 2010 | ref={{SfnRef|Filmsite 1949 Oscars|}} }}

• {{cite web

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}}

• {{cite web | url=https://www.tcm.com/tcmdb/title/12687/lilith | title=Lilith (1964) | work=Turner Classic Movies | publisher=Turner Sports and Entertainment Digital Network | access-date=December 5, 2010 | ref={{SfnRef|Lilith – TCM|}} }}

• {{cite web

| url=https://www.tcm.com/tcmdb/title/2139/marked-woman

| title=Marked Woman (1937)

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| access-date=January 13, 2011

| ref={{SfnRef|Marked Woman – TCM|}}

}}

• {{cite web | url = https://www.imdb.com/title/tt0034162/ | title = The Sea Wolf (1941) | access-date = July 12, 2010 | work = IMDb | publisher = IMDb.com, Inc | ref = {{SfnRef|Sea Wolf – IMDb|}} }}

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|url-status=dead

}}

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• {{cite web | url=https://www.imdb.com/title/tt0053351/plotsummary | title=They Came to Cordura (1959) | last=Crawford | first=Rod | work=IMDb | publisher=IMDb.com, Inc. | access-date=July 16, 2010 | ref={{SfnRef|Cordura – Crawford||}} }}

• {{cite web | title=Hustler, The | last=Berardinelli | first=James | url=http://preview.reelviews.net/movies/h/hustler.html | publisher=ReelViews | year=2002 | access-date=February 27, 2010 | ref={{SfnRef|Hustler Review – Berardinelli|2002}} }}

• {{cite book | last1=Buhle | first1=Paul | last2=Wagner | first2=Dave

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| ref={{SfnRef|Buhle & Wagner|2002}} }}

• {{cite journal | last=Casty |first=Alan |year=1966 | title=The Films of Robert Rossen | journal=Film Quarterly

|volume=20|issue=2|pages=3–12 |jstor=1210689| doi=10.2307/1210689}}

• {{cite web | url = https://movies.nytimes.com/movie/review?res=9B01E0D6133CE23BBC4951DFB2668382659EDE | title = The Undercover Man (1949) | access-date = June 15, 2010 | last = Crowther | first = Bosley | date = April 21, 1949 | work = The New York Times | ref = {{SfnRef|Undercover Man – Crowther|1949}} }}

• {{cite news|url=https://movies.nytimes.com/movie/review?res=9C05E4D9153EE53ABC4950DFB566838E649EDE|title='Mambo' Out of Step|last=Crowther|first=Bosley|date=March 31, 1955|work=The New York Times|access-date=February 27, 2010}}

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|title=The Merchant Prince of Poverty Row: Harry Cohn of Columbia Pictures

|publisher=University Press of Kentucky

|year=1993

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|chapter=Harry's Hierarchy

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|chapter-url=https://books.google.com/books?id=rg3Q5OcfeSEC&q=%22The+Sea+Wolf%22+rossen&pg=PA172

|access-date=March 3, 2010

}}

• {{cite book|last=Dick|first=Bernard F.|title=Hal Wallis: producer to the stars|publisher=University Press of Kentucky|location=Lexington, Kentucky|year=2004|pages=111–128|chapter=Interstellar Spaces|isbn=0-8131-2317-8|chapter-url=https://books.google.com/books?id=y_ibD5RpKzMC&q=%22The+Sea+Wolf%22+rossen&pg=RA1-PA125|access-date=March 3, 2010}}

• {{cite news | last = Ebert | first = Roger | title = The Hustler (1961) | work = Chicago Sun-Times | date = June 23, 2002 | url = http://rogerebert.suntimes.com/apps/pbcs.dll/article?AID=/20020623/REVIEWS08/206230301/1023 | access-date = February 2, 2010 | ref = {{SfnRef|Hustler – Ebert|2002}} | archive-date = September 23, 2012 | archive-url = https://web.archive.org/web/20120923100148/http://rogerebert.suntimes.com/apps/pbcs.dll/article?AID=%2F20020623%2FREVIEWS08%2F206230301%2F1023 | url-status = dead }}

• {{cite journal|last=Farber|first=Stephen|date=Autumn 1966|title=New American Gothic

|journal=Film Quarterly|publisher=University of California Press|volume=20|issue=1

|pages=22–27|doi=10.2307/1211159|jstor=1211159}}

• {{cite journal|last=Farber|first=Stephen|date=Winter 1974–1975|title=The Vanishing Heroine

|journal=The Hudson Review|publisher=The Hudson Review, Inc.|volume=27|issue=4

|pages=570–576|doi=10.2307/3850358|jstor=3850358| ref={{SfnRef|Farber|1974}} }}

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|publisher=LIT Verlag

|location=Berlin-Hamburg-Münster

|year=2001

|series=Forum for European Contributions to African American Studies: FORECAAST

|volume=4

|pages=91–112

|chapter=The Body Possessed: Katherine Dunham Dance Technique in Mambo

|isbn=3-8258-4473-0

|chapter-url=https://books.google.com/books?id=CuwCJzPL2ugC&q=%22Robert+Rossen%22&pg=PA91

|access-date=February 25, 2010

}}

• {{cite web | url=https://www.imdb.com/title/tt0033987/ | title=Out of the Fog (1941) | work=IMDb | publisher=IMDb.com, Inc | access-date=April 16, 2010 | ref={{SfnRef|The Fog – IMDb|}} }}

• {{cite web

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|publisher = Hollywood Foreign Press Association

|url = http://www.goldenglobes.org/browse/film/25327

|access-date = March 31, 2010

|ref = {{SfnRef|GoldenGlobes – The Hustler |}}

|url-status = dead

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|archive-date = May 26, 2012

}}

• {{cite web | url=https://www.tcm.com/tcmdb/title/79445/island-in-the-sun | title=Island in the Sun (1957) | work=Turner Classic Movies | publisher=Turner Sports and Entertainment Digital Network | access-date=December 2, 2010 | ref={{SfnRef|Island – TCM|}} }}

• {{cite web | url=https://www.tcm.com/tcmdb/title/79845/johnny-oclock | title=Johnny O'Clock (1947) | work=Turner Classic Movies | publisher=Turner Sports and Entertainment Digital Network | access-date=December 2, 2010 | ref={{SfnRef|Johnny O'Clock – TCM|}} }}

• {{cite news | last = Kauffmann | first = Stanley | title = The Talent of Paul Newman

| magazine = The New Republic | page = 28 | date=October 9, 1961

| ref={{SfnRef|Kauffmann|1961}} }}

• {{cite journal|last=Leibman|first=Nina C.|date=Winter 1987

|title=Sexual Misdemeanor/Psychoanalytic Felony|journal=Cinema Journal

|publisher=University of Texas Press|volume=26|issue=2|pages=27–38

|doi=10.2307/1225337|jstor=1225337}}

• {{cite book|last=Mayer|first=Geoff|title=Encyclopedia of film noir|editor=Geoff Mayer and Brian McDonnell|publisher=Greenwood Publishing Group|year=2007|pages=62–69|chapter=McCarthyism, the House on Un-American Activities, and the Caper Film|isbn=978-0-313-33306-4|chapter-url=https://books.google.com/books?id=fwqUyIvQpEsC&q=%22Robert+Rossen%22&pg=PA62|access-date=February 24, 2010}}

• {{cite web | url=https://www.allmovie.com/work/mambo-31049/credits | title=Mambo | work=allmovie.com | publisher=Rovi Corporation | access-date=December 4, 2010 | ref={{SfnRef|Mambo – allmovie|}} }}

• {{cite web | url=https://www.tcm.com/tcmdb/title/82516/mambo | title=Mambo (1955) | work=Turner Classic Movies | publisher=Turner Sports and Entertainment Digital Network | access-date=December 4, 2010 | ref={{SfnRef|Mambo – TCM|}} }}

• {{cite web | url=https://www.imdb.com/title/tt0029217/ | title=Marked Woman (1937) | work=IMDb | publisher=IMDb.com, Inc | access-date=January 14, 2011 | ref={{SfnRef|Marked Woman – IMDb|}} }}

• {{cite journal|last=Millar|first=Daniel|year=1972|title=The Method of Rossen's Late Films

|journal=Journal of American Studies|volume=6|issue=3|pages=309–316

|jstor=27553014|doi=10.1017/s0021875800011890}}

• {{cite web | url=https://www.tcm.com/tcmdb/title/1489/racket-busters | title=Racket Busters (1938) | work=Turner Classic Movies | publisher=Turner Sports and Entertainment Digital Network | access-date=January 7, 2011 | ref={{SfnRef|Racket Busters – TCM|}} }}

• {{cite web | url=https://www.tcm.com/tcmdb/title/88457/the-roaring-twenties | title=The Roaring Twenties (1939) | work=Turner Classic Movies | publisher=Turner Sports and Entertainment Digital Network | access-date=January 7, 2011 | ref={{SfnRef|Roaring Twenties – TCM|}} }}

• {{cite web | url=https://www.tcm.com/tcmdb/title/89336/the-sea-wolf | title=The Sea Wolf (1941) | work=Turner Classic Movies | publisher=Turner Sports and Entertainment Digital Network | access-date=December 2, 2010 | ref={{SfnRef|The Sea Wolf – TCM|}} }}

• {{cite web

| url=https://www.imdb.com/title/tt0038988/

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| work=IMDb

| publisher=IMDb.com, Inc

| access-date=January 14, 2011

| ref={{SfnRef|Martha Ivers – IMDb|}}

}}

• {{cite web | url=https://www.tcm.com/tcmdb/title/91604/the-strange-love-of-martha-ivers | title=The Strange Love of Martha Ivers (1946) | work=Turner Classic Movies | publisher=Turner Sports and Entertainment Digital Network | access-date=December 2, 2010 | ref={{SfnRef|Martha Ivers – TCM|}} }}

• {{cite web | url=https://www.tcm.com/tcmdb/title/2289/they-wont-forget | title=They Won't Forget (1937) | work=Turner Classic Movies | publisher=Turner Sports and Entertainment Digital Network | access-date=January 13, 2011 | ref={{SfnRef|They Won't Forget – TCM|}} }}

• {{cite web | url=https://www.imdb.com/title/tt0029658/ | title=They Won't Forget (1937) | work=IMDb | publisher=IMDb.com, Inc | access-date=January 14, 2011 | ref={{SfnRef|They Won't Forget – IMDb|}} }}

• {{cite news

|title=National Film Registry, 2001

|work=The Library of Congress Information Bulletin

|publisher=Library of Congress

|date=December 18, 2001

|url=https://www.loc.gov/film/nfr2001.html

|access-date=January 6, 2011

|ref={{SfnRef|National Film Registry – All the Kings Men|2001}}

|url-status=dead

|archive-url=https://web.archive.org/web/20090923234838/http://www.loc.gov/film/nfr2001.html

|archive-date=September 23, 2009

}}

• {{cite news

| title = New to the National Film Registry

| work = The Library of Congress Information Bulletin

| publisher = Library of Congress

| date = December 1997

| url = https://www.loc.gov/loc/lcib/9712/nfr.html

| access-date = March 20, 2008

| ref = {{SfnRef|National Film Registry – Hustler|1997}}

}}

• {{cite book | last1 = Neve | first1 = Brian | title = Film and politics in America: a social tradition | chapter = Into the Fifties | work = Studies in film, television, and the media | publisher = Routledge | year = 1992 | pages = 170–171 | chapter-url = https://books.google.com/books?id=hQ66HEmagYAC&q=lilith+rossen&pg=PA214 | access-date = June 8, 2010 | isbn = 0-415-02619-9 }}

• {{cite journal|last=Neve|first=Brian|year=2005|title=The Hollywood Left: Robert Rossen and Postwar Hollywood|journal=Film Studies|volume=7|pages=54–65|doi=10.7227/FS.7.7|url=http://www.manchesteruniversitypress.co.uk/uploads/docs/FSTU7-5-.pdf|access-date=February 23, 2010|url-status=dead|archive-url=https://web.archive.org/web/20110512034914/http://www.manchesteruniversitypress.co.uk/uploads/docs/FSTU7-5-.pdf|archive-date=May 12, 2011}}
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  | publisher=IMDb.com, Inc

  | access-date=January 14, 2011

  | ref={{SfnRef|Roaring Twenties – IMDb|}}

  }}

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  • {{cite news|url=https://movies.nytimes.com/movie/review?res=980de2da103ee23abc4952dfb766838b659ede|title=A Child Is Born (1940) – Movie Review|last=Nugent|first=Frank S.|date=January 11, 1940|work=The New York Times|access-date=March 1, 2010|ref={{SfnRef|Nugent – A Child|1940}}}}
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  |url=https://query.nytimes.com/gst/fullpage.html?res=9A0CEFD81F3AF93AA25757C0A9619C8B63

  |title=Paid Notice: Deaths: Rossen, Stephen, M.

  |date=April 19, 2007

  |work=The New York Times

  |access-date=February 24, 2010

  |ref={{SfnRef|Death: Stephen Rossen|2007}}

  }}

  • {{cite web

  | url=https://movies.nytimes.com/person/109015/Robert-Rossen/biography

  | archive-url=https://web.archive.org/web/20121026120245/http://movies.nytimes.com/person/109015/Robert-Rossen/biography

  | url-status=dead

  | archive-date=October 26, 2012

  | title=Robert Rossen – Biography

  | last=Brennan

  | first=Sandra

  | access-date=February 23, 2010

  | department=Movies & TV Dept.

  | work=The New York Times

  | date=2012

  | ref={{SfnRef|Robert Rossen – Biography|NY Times}}

  }}

  • {{cite news | title = Rossen, Director of Many Movie Masterpieces, Dies

  | publisher = UPI | date = February 19, 1966 | ref={{SfnRef|UPI obituary|1966}} }}

  • {{cite book|last=Sadoul|first=Georges|author2=Peter Morris|title=Dictionary of films|publisher=University of California Press|year=1972|page=[https://archive.org/details/dictionaryoffilm00sado/page/193 193]|chapter=Lilith|isbn=0-520-02152-5|url=https://archive.org/details/dictionaryoffilm00sado|url-access=registration|quote=lilith rossen.|access-date=February 27, 2010|ref={{SfnRef|SadoulMorris|1972}}}}
  • {{cite book|last=Schatz|first=Thomas|title=Boom and bust: American cinema in the 1940s|publisher=University of California Press|series=History of the American cinema|volume=6|isbn=0-520-22130-3|year=1999|url=https://books.google.com/books?id=dwf5SUcfousC&pg=PA112|access-date=March 2, 2010}}
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  |title=Blues in the Night (1941) – Movie Review

  |last=T.M.P

  |date=December 12, 1941

  |work=The New York Times

  |access-date=March 2, 2010

  |ref={{SfnRef|T.M.P – Blues in the Night|1941}}

  }}

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  • {{cite web | last = LoBianco | first = Lorraine | title = Directed by Robert Rossen | publisher = A Time Warner Company | url = https://www.tcm.com/this-month/article/157027 | work = Turner Classic Movies | access-date = July 17, 2010 | ref = {{SfnRef|LoBianco – TCM||}} }}
  • {{cite web | url=https://www.tcm.com/tcmdb/title/92812/they-came-to-cordura | title=They Came to Cordura (1959) | work=Turner Classic Movies | publisher=Turner Sports and Entertainment Digital Network | access-date=December 4, 2010 | ref={{SfnRef|Cordura – TCM|}} }}
  • {{cite news | last = Thomas | first = Bob | title = Robert Rossen Thought About Impending Death

  | work = Ada (Oklahoma) Evening News | page = 11 | publisher = Associated Press

  | date = March 11, 1966 }}

  • {{cite book | last=Thomson | first=David | title=The New Biographical Dictionary of Film | year=2002

  | publisher=Little, Brown | location=London | ref={{SfnRef|Biographical Dictionary – Thomson|2002|}} }}

  • {{cite web | title= Top 10 Sports Films | url= http://www.afi.com/10top10/sports.html | year= 2008 | publisher= American Film Institute | access-date= February 27, 2010 | ref= {{SfnRef|AFI: Top 10 Sports Films|2008}} }}
  • {{cite web | url=https://www.imdb.com/title/tt0042006/ | title=Undercover Man (1949) | work=IMDb | publisher=IMDb.com, Inc | access-date=January 14, 2011 | ref={{SfnRef|Undercover Man – IMDb|}} }}
  • {{cite news | url=https://www.variety.com/review/VE1117796003.html?categoryid=31&cs=1 | title=The Undercover Man | date=January 1, 1949 | work=Variety | publisher=Reed Elsevier Inc. | access-date=July 14, 2010 | ref={{SfnRef|Undercover Man – Variety|1949}} }}
  • {{cite news | last = Variety staff | title = The Hustler | work = Variety | publisher = Reed Elsevier Inc. | date = January 1, 1961 | url = https://www.variety.com/review/VE1117791850.html?categoryid=31&cs=1&p=0 | access-date = April 24, 2008 | ref = {{SfnRef|Hustler – Variety| 1961}} }}
  • {{cite web | url=https://www.tcm.com/tcmdb/title/27986/the-undercover-man | title=The Undercover Man (1949) | work=Turner Classic Movies | publisher=Turner Sports and Entertainment Digital Network | access-date=December 3, 2010 | ref={{SfnRef|Undercover Man – TCM|}} }}
  • {{Cite news

  | title=Weddings; Ellen Rossen, Av Westin

  | date=October 25, 1992

  | newspaper=The New York Times

  | access-date=February 22, 2010

  | url=https://www.nytimes.com/1992/10/25/style/weddings-ellen-rossen-av-westin.html?pagewanted=1

  | ref={{SfnRef|Weddings: Ellen Rossen|1992}}

  }}

  • {{cite book|last=Williams|first=Tony|title=Jack London's The Sea Wolf: A Screenplay by Robert Rossen|editor=Rocco Fumento, Tony Williams|publisher=SIU Press|year=1998|chapter=From Novel to Film|isbn=0-8093-2176-9|pages=xvii–xxvi|url=https://books.google.com/books?id=SWNn4UfRBxMC&q=%22The+Sea+Wolf%22+rossen|access-date=March 3, 2010|ref={{SfnRef|Sea Wolf – Williams|1998}}}}

  {{refend}}

• {{cite book|last=Pells|first=Richard H.|title=The Liberal Mind in a Conservative Age: American Intellectuals in the 1940s and 1950s|publisher=Wesleyan University Press|year=1989|isbn=0-8195-6225-4|url=https://books.google.com/books?id=XtIhcHhMjsoC&q=%22The+Liberal+Mind+in+a+Conservative+Age:+American+Intellectuals+in+the+1940s+and+1950s%22+pells|access-date=February 25, 2010}}
• {{cite book|title=World Film Directors, Volume One, 1890–1945|pages=971–976|location=New York|publisher=The H.W. Wilson Company|year=1987}}

{{Portal|Biography}}

• {{IMDb name|id=0744035|name=Robert Rossen}}
• {{IBDB name|8415}}

{{Robert Rossen}}

{{Navboxes

|title = Awards for Robert Rossen

|list =

{{BAFTA Best Film recipients}}

{{DirectorsGuildofAmericaAwardFeatureFilm 1948-1959}}

{{Golden Globe Award for Best Director}}

{{New York Film Critics Circle Award for Best Director}}

}}

{{Authority control}}

{{Good article}}

{{DEFAULTSORT:Rossen, Robert}}

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